Robert Finley's 'Goin' Platinum Tour' hits Boston

Tuesday

The rock 'n' soul tornado that is Robert Finley swept through Boston Monday night, with a 70-minute show that was all heat and passion, before about a hundred fans at Brighton Music Hall.

If that name sounds familiar it is because we just wrote about Finley in March, when he appeared at the House of Blues in Boston as part of Dan Auerbach's Easy Eye Revue, and delivered a segment that essentially stole the show from the acclaimed Black Keys frontman. Last night Finely was back with his own band, making his first-ever headlining tour stop in Beantown at age 64, promoting the album, “Goin' Platinum.”

Finley's back story is fascinating, as the Bernice, Louisiana resident had been making his living for decades as a carpenter, until advancing glaucoma took that occupation away from him. Finley, who had performed as singer, guitarist and band leader while serving in the Army as a young man, where he was officially a helicopter technician, had kept his musical activities to a weekend hobby since then. But, as he became legally blind, he started polishing up his music and playing whenever he could.

At the King Biscuit Blues Festival in Helena, Arkansas in the fall of 2015, Finley was busking outside one of the venues, when people from the Music Maker Relief Foundation heard him, and were impressed. That organization seeks to help down on their luck musicians, and with their connections, Finley quickly had a record deal with a subsidiary of the Fat Possum blues label, releasing his debut “Age Don't Mean a Thing” in 2016. Auerbach got wind of how good that album was, listened to it and decided to recruit Finley for a project he was doing–the soundtrack to a graphic novel, “Murder Ballads.” Staking out four days to do four songs with Finley, Auerbach was amazed when they were done after the first day. Eager to keep pushing his new pal, Auerbach suggested they record some more of Finley's work in the remaining time, and that resulted in the ten songs on “Goin' Platinum,” which was released last fall, on Auerbach's Easy Eye Sound label.

Monday night Finley's 12-song set began with the surging soul ballad “Medicine Man,” as the singer, dressed in a long black coat and black leather hat, and looking like he ought to be playing the preacher in a Clint Eastwood movie Western, sashayed around the stage with the beat. Finley's excellent five-piece backing band included two guitars, bass, drums and organ, and the wall of sound they created for his blistering rocker “Three Jumpers” evoked the best of Led Zeppelin style blues rock.

The title cut from that first album, “Age Don't Mean A Thing,” turned into a searing bit of rockin' soul testifying, as Finley approached James Brown levels of intensity as he assured any and all–but especially young females–that he was still in his prime. “I Just Want to Tell You (What Your Love Has Done To Me)” was more of a thumping rock march, as if Otis Redding was reincarnated and taking over the stage once again.

One of the more striking moments on that second Finley album, as it was at the House of Blues show in March, is when the singer unveils his falsetto and sings “Holy Wine” entirely in the falsetto. The effect was just as remarkable last night, as it seemed impossible such a high and melodic chirping could be coming from the 6'4 man on stage. It was also a bit unexpected to hear Finley's soul croon weaving its magic with “Make It With You.”

But Finley was back in his raw and righteous, gospel-tinged sweet spot for “It's Too Late To Say I Love You (And Too Soon To Say Goodbye),” and that song's lyrical precision was almost as galvanizing as his performance. The power soul ballad “Empty Arms” was another standout, with the title referring to the mythical hotel where the lovelorn check in. The easy rolling ballad “Snake In My Grass,” from the first album, employed subtle dynamics to build its swampy power, and we might liken it to a combination of swamp-rocker Tony Joe White and Memphis r&b man Rufus Thomas.

“If You Forget My Love” was delivered as a brightly assertive soul strut, with Finley holding the audience in the palm of his hand as he strode the stage and danced here and there. One of his signature tunes, “Get It While You Can,” opened with a dazzling guitar intro, reminiscent of a later-period Beatles work, before shifting into Wilson Pickett-style rock 'n' funk. For his encore, Finley utilized more of his subtle approach, with the infectious midetmpo ballad “Honey Let Me Stay the Night” gradually building up into a heated crescendo for the finale.

Afterwards, Finley came out to sign albums, pose for pictures, and chat with fans, clearly a man having the time of his life with his newfound music career.

Speaking of folks reveling in their music, Monday night's opening act was the rock quartet Field Day, featuring lead singer/guitarist Joan Anderman, formerly a music writer for the Boston Globe. Field Day's power pop sound had a crunching appeal on “Find Your Own Way Home,” where the singer's skill as a wordsmith could be heard in the angular lyrics. And the set-closing “Finished With You” uncorked some of the group's garage rock roots, a fiery, pounding shot of rock 'n' roll fun. Field Day has a new EP out, and Anderman looks like a kid in a candy store onstage.

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